Boston Symphony Orchestra Concert Programs, Season 111, 1991-1992

BOSTON Symphony Orchestra

Seiji Ozawa MUSIC DIRECTOR

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One Hundred Eleventh Season LASSALE THE ART OF

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Our 152"d year

THE E.B. HORN COMPANY 429 WASHINGTON STREET, BOSTON, MA BUDGET TERMS ALL MAJOR CREDIT CARDS ACCEPTED AVAILABLE MAIL OR PHONE ORDERS (617) 542-3902 OPEN MON. AND THURS. TIL 7 Seiji Ozawa, Music Director

One Hundred and Eleventh Season, 1991-92

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James F. Cleary Francis W. Hatch Mrs. Robert B. Newman John F. Cogan, Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. Bela T. Kalman Richard A. Smith

William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

Administration

Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development Ray F. Wellbaum, Orchestra Manager

Robert Bell, Manager of Information Systems Patricia Krol, Coordinator of Youth Activities Peter N. Cerundolo, Director of Steven Ledbetter, Musicologist & Corporate Development Program Annotator Constance B.F. Cooper, Director of Boston Marc Mandel, Publications Coordinator Symphony Annual Fund John C. Marksbury, Director of Madelyne Cuddeback, Director of Foundation and Government Support Corporate Sponsorships Julie-Anne Miner, Manager of Fund Reporting Patricia Forbes Halligan, Personnel Richard Ortner, Administrator of Administrator Tanglewood Music Center Sarah J. Harrington, Budget Manager Scott Schillin, Assistant Manager, Margaret Hillyard-Lazenby, Pops and Youth Activities Director of Volunteers Joyce M. Serwitz, Associate Director of Russell M. Hodsdon, Manager of Box Office Development/Director of Major Gifts Bernadette M. Horgan, Public Relations Cheryl L. Silvia, Function Manager Coordinator Michelle Leonard Techier, Media and Production Craig R. Kaplan, Controller Manager, Boston Symphony Orchestra Nancy A. Kay, Director of Sales & Robin J. Yorks, Director of Tanglewood Marketing Manager Development Susan E. Kinney, Assistant Director of Development

John F. Cogan, Jr., Chairman Thelma E. Goldberg, Vice-Chairman Mrs. Susan D. Hall, Secretary

Mrs. Herbert B. Abelow Mrs. Haskell R. Gordon Richard P. Morse Amanda Barbour Amis John P. Hamill E. James Morton Harlan Anderson Daphne P. Hatsopoulos David G. Mugar Caroline Dwight Bain Bayard Henry Robert J. Murray Mrs. Leo L. Beranek Glen H. Hiner David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Gwendolyn Cochran Hadden Susan B. Kaplan John A. Perkins William F. Connell Mrs. S. Charles Kasdon Millard H. Pryor, Jr. Walter J. Connolly, Jr. Richard L. Kaye Robert E. Remis Jack Connors, Jr. Mrs. Gordon F. Kingsley William D. Roddy Albert C. Cornelio Allen Z. Kluchman John Ex Rodgers Phyllis Curtin Koji Kobayashi Keizo Saji JoAnne Dickinson Mrs. Carl Koch Roger A. Saunders

Harry Ellis Dickson David I. Kosowsky Mrs. Raymond H. Schneider Phyllis Dohanian George Krupp Malcolm L. Sherman Hugh Downs John R. Laird Mrs. Donald B. Sinclair Goetz B. Eaton Mrs. Hart D. Leavitt L. Scott Singleton Harriett M. Eckstein Laurence Lesser Ira Stepanian Deborah A. England Stephen R. Levy William F. Thompson Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Diane H. Lupean Roger D. Wellington Eugene M. Freedman Mrs. Charles P. Lyman Robert A. Wells Mrs. James G. Garivaltis Mrs. Harry L. Marks Margaret Williams-DeCelles Jordan L. Golding Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Leonard Kaplan Mrs. Peter van S. Rice Mrs. Frank G. Allen Robert K. Kraft Mrs. Jerome Rosenfeld Bruce A. Beal Benjamin H. Lacy Mrs. William C. Rousseau Mrs. Richard Bennink Mrs. James F. Lawrence Mrs. William H. Ryan Mary Louise Cabot C. Charles Marran Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Ralph Z. Sorenson Peter H.B. Frelinghuysen Mrs. Stephen V.C. Morris Mrs. Edward S. Stimpson

Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Arthur I. Strang Mrs. Richard D. Hill David R. Pokross Luise Vosgerchian Susan M. Hilles Daphne Brooks Prout Mrs. Donald B. Wilson

Mrs. Louis I. Kane

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers

Molly Beals Millman, President Flornie Whitney, Executive Vice-President Joan Erhard, Secretary Bonnie B. Schalm, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen A. Doyle, Hall Services Maureen Hickey, Tanglewood Goetz B. Eaton, Fundraising Ileen Cohen, Tanglewood Una Fleischmann, Development Ann Macdonald, Youth Activities Paul S. Green, Resources Development Carol Scheifele-Holmes, Symphony Shop Patricia M. Jensen, Membership Patricia L. Tambone, Public Relations Kathleen G. Keith, Adult Education

Business and Professional Leadership Association Board of Directors

Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President

J. P. Barger George H. Kidder William D. Roddy Leo L. Beranek William F. Meagher Malcolm L. Sherman William F. Connell Robert P. O'Block Ray Stata Nelson J. Darling Vincent M. O'Reilly Stephen J. Sweeney Thelma Goldberg

Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.

Celebrating the 100th Anniversary of the Birth of Charles Munch

To mark the centennial of the birth of Charles Munch, the Boston Symphony Archives has mounted a display of memorabilia in the Cohen Wing lobby. Using photographs, letters, programs, and other historical documents, the exhibit explores the career of Charles Munch, focusing on his tenure as Music Director of the Boston Symphony Orchestra from 1949 to 1962. In the photograph above, Munch (right) is shown with guest conductor Pierre Monteux (left), himself music director of the BSO from 1919 to 1924, and the train conductor just prior to departing on the BSO's transcontinental tour in 1953. The Boston Symphony Archives extends special thanks to Bunnell Frame Shop for its generous assistance in mounting this exhibit. Culture is not just an ornament;

it is the expression n a nation's character . . .

Because culture touches on the noblest impulses within us all,

The Boston Company believes our cultural institutions are central to

the dignity of every individual. Which is why, in addition to our enthusiastic support

of many educational and social causes in our community

— including the needs of the homeless — the people of The Boston Company continue to contribute to such cultural institutions as The Boston Symphony Orchestra.

We urge that you, too, lend it your continuous and generous support.

THE BOSTON COMPANY Boston Safe Deposit and Trust Company Member FDIC:f&*—J An Equal Opportunity Lender BSO something warm from a BSO or Pops mug. Or add some distinctive new pieces to your jewelry collection with "wearable art" by Orenda or Charles Munch and the something from the "Carnegie at 100" jewelry Boston-Strasbourg Connection line, the latter carried exclusively in Boston by In 1960, while music director of the Boston the Symphony Shop. Ever-popular BSO and Symphony Orchestra, Charles Munch estab- Pops T-shirts and sweatshirts are now available in striking color lished a "jumelage" (literally, "twinning") new designs and combina- between Boston and his native city of tions, for adults and children. And even if Strasbourg in France. With their rich archi- you're not an athlete, you'll look like one in the tectural, historical, and cultural heritage, both new matching jacket and pants of Supplex cities have drawn on the past to propel them- nylon, embroidered with a BSO logo. To carry selves into the future, becoming leaders in high all your gear, try a roomy BSO tote bag. technology, university education, research, and Among the Shop's musical instrument offerings finance. During the past thirty years, the are a chime-along xylophone, a folk-instrument Boston-Strasbourg Sister City Association has strum stick, a "talking drum" from Africa, a developed numerous cultural and educational pan flute, and various percussive "rhythm mak- ers." child's gift less exchanges. It is especially fitting this year, as For a that's noisy, how we mark the 100th anniversary of Charles about a book? Located in Symphony Hall's Munch's birth, to acknowledge the special Cohen Wing at the West Entrance on Hun- relationship between the two cities he loved. tington Avenue, the Symphony Shop is open For further information, call the Boston- Wednesday, Thursday, and Friday from 11 Strasbourg Sister City Association at a.m. to 4 p.m., Saturday from noon until 6 (617) 338-2288. p.m. and from one hour before each concert through intermission. Telephone orders are accepted at (617) 638-9383. Art Exhibits in the Cabot-Cahners Room

For the eighteenth year, a variety of Boston- BSO Members on Record area galleries, museums, schools, and non- BSO principal harp Ann Hobson Pilot is newly profit artists' organizations are exhibiting their showcased in her first solo album, available on work in the Cabot-Cahners Room on the first- both compact disc and cassette. The album balcony level of Symphony Hall. On display was recorded by Boston Records Classical through January 2 are works from the Dif- Corporation (owned by BSO oboist Wayne ferent Angle Gallery, a contemporary arts exhi- Rapier) and made possible by a gift from bition space in downtown Boston. This will be Mrs. Willona Sinclair (who, with her husband followed by works from the Jack Mellon Gal- Donald, endowed the BSO's principal harp lery of Cambridge, featuring artists Frank chair). Available in the Symphony Shop as well Kaczmarek, Jack Mellon, and Ro Bell (Janu- as in record stores, the recording includes ary 2 -February 3). These exhibits are spon- music of Bach, Debussy, Hindemith, Faure, sored by the Boston Symphony Association of Ravel, and others, plus an arrangement for Volunteers, and a portion of each sale benefits solo harp of "The Lord's Prayer." 's the orchestra. Please contact the Volunteer Faure Berceuse is heard in Ms. Pilot's own transcrip- Office at (617) 638-9390, for further information. tion. A portion of the proceeds from the album's sales will be donated to the United Negro College Fund. Symphony Shopping for the Holidays Other recordings by BSO members include You can find unique and delightful gifts and flutist Fenwick Smith's album of flute music support the BSO at the same time by doing by French composer Charles Koechlin, with your holiday shopping at the Symphony Shop, pianist Martin Amlin and soprano Jayne West, a project of the Boston Symphony Association on the Hyperion label; an album of music by of Volunteers. For those cold winter nights, Terezin composers Gideon Klein and Viktor you can feel cozy under the Symphony Lap Ullmann featuring the Hawthorne String Robe (available in four colors) while sipping Quartet (BSO members Mark Ludwig, Ronan m^M

GIORGIO ARMANI 22 Newbury Street, Boston, (617) 267-3200 Lefkowitz, Si-Jing Huang, and Sato Knudsen) South Meeting House at Downtown Crossing. on Channel Classics; solo albums by BSO The program includes the overture to Handel's assistant principal bass Lawrence Wolfe Judas Maccabaeus, Bach's Orchestral Suite (Titanic Records) and former principal flute No. 2, the United States premiere of Reicha's Doriot Anthony Dwyer (Koch International); Grand Solo for glass harmonica and orchestra an album on Crystal Records by the NFB with Kenneth Piotowski, and Mozart's Horn Quartet, founded by BSO horn player Symphony No. 29. Single tickets are $20 and Jay Wadenpfuhl, whose own composition $13 ($4 discount for students and seniors). Tectonica, for eight horns, is included; and two For further information, call (617) 426-2387. albums by principal trombone Ronald Barron in his own Boston Brass series: an all- Buy a Christmas Stocking available on cassette, and Hindemith CD also to Help Boston's Elderly a cassette entitled Le Trombone frangais. Just a few doors down from Symphony BSO Members in Concert Hall, at 251 Massachusetts Avenue, is The Christmas Stocking Store, operated by Little Music Director Max Hobart conducts the Brothers-Friends of the Elderly. Open every in "Christmas North Shore Philharmonic a day until Christmas, the store offers an exten- Pops" program on Wednesday, December 18, sive array of heirloom holiday stockings, at 7:30 p.m. at the North Shore Music exquisitely handcrafted from designer fabrics in Beverly. will include Theatre The program and trimmed with ribbons and lace. The stock- favorite holiday tunes, a sing-along of popular ings are $10, $20, and $25. All proceeds help of carols, and an arrangement by Fred Waring the Little Brothers-Friends of the Elderly to Tne Night Before Christmas with Ron Delia bring companionship and cheer to isolated and Chiesa narrating. For more information, call lonely elderly at Christmas, Hanukkah, Easter, (617) 286-0024 or (617) 631-6513. and Thanksgiving. For further information, Ronald Knudsen conducts the Newton please call (617) 536-2404. Symphony Orchestra on Sunday, January 12, at 8 p.m. at Aquinas College, 15 Walnut Park, Ticket Resale Newton, with BSO principal bass Edwin Barker as soloist in Estonian composer If, as a Boston Symphony subscriber, you find Eduard Tubin's Concerto for Double Bass, on yourself unable to use your subscription ticket, a program also including Gounod's Petite sym- please make that ticket available for resale by phonie for winds and Shostakovich's Symphony calling (617) 266-1492. In this way you help No. 1. Single tickets are $14 and $12. For bring needed revenue to the orchestra and at more information, call (617) 965-2555. the same time make your seat available to Harry Ellis Dickson conducts the Boston someone who might otherwise be unable to Classical Orchestra on Wednesday, January attend the concert. A mailed receipt will 15, and Friday, January 17, at 8 p.m. at Old acknowledge your tax-deductible contribution. SEIJI OZAWA

Now in his nineteenth year as music director of the Boston Symphony Orchestra, Seiji Ozawa was named the BSO's thirteenth music director in 1973, following a year as music adviser. His many tours with the orchestra in Europe, the Far East, and throughout the United States have included four visits to Japan (most recently in December 1989, on a tour that also included the orchestra's first concerts in Hong Kong), an eight-city North American tour in the spring of 1991, and a seven- city European tour to Greece, Austria, Germany, France, and England following the 1991 Tangle- wood season. His previous tours with the orchestra have included an historic visit to China in March 1979 for coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, marking the first visit to China by an American performing ensemble following the establishment of diplomatic relations; the orchestra's first tour devoted exclusively to appearances at the major European music festivals, also in 1979; and, to celebrate the orchestra's centennial in 1981, a fourteen-city American tour and an international tour to Japan, France, Ger- many, Austria, and England.

Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the French National Orchestra, the New Japan Philhar- monic, the Orchestre de Paris, the Philharmonia of London, and the Vienna Phil- harmonic. Recent appearances conducting opera have included the Paris Opera, La Scala, Salzburg, and the Vienna Staatsoper; he has also conducted the Royal Opera at Covent Garden. In addition to his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Chicago Symphony, the London Philharmonic, the Orchestre National, the Orchestre de Paris, the Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Orchestra, and the Toronto Symphony, among others. His recordings appear on the Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, Sony Classical/CBS Mas- terworks, and Telarc labels.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besan^on, France, and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.

While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the New York Philharmonic's 1961 tour of Japan and was assistant conductor of that orchestra for the 1961-62 season. Mr. Ozawa made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five sum- mers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Sym- phony Orchestra for the first time in 1964, at Tanglewood, and made his first

8 Symphony Hall appearance with the orchestra in 1968. In 1970 he was named an artistic director of Tanglewood.

Mr. Ozawa holds honorary doctor of music degrees from the University of Mas- sachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. He won an Emmy award for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series.

Mr. Ozawa' s compact discs with the Boston Symphony Orchestra include, on Philips, Mahler's First, Second, Fourth, Seventh, and Eighth symphonies, Mah- ler's Kinderiotenlieder with Jessye Norman, Richard Strauss's Elektra with Hilde- gard Behrens in the title role, and Schoenberg's Gurrelieder, with Jessye Norman, James McCracken, and Tatiana Troyanos. Recordings on Deutsche Grammophon include Poulenc's Gloria and Stabat mater with Kathleen Battle and the Tangle- wood Festival Chorus; Liszt's two piano concertos and Totentanz with Krystian Zimerman; Prokofiev's complete Romeo and Juliet; Berlioz's Romeo et Juliette and Damnation of Faust; and an album of music by Gabriel Faure. Other recordings by Seiji Ozawa and the Boston Symphony Orchestra include Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, on Telarc; and, on Sony Classi- cal/CBS Masterworks, Strauss's Don Quixote with Yo-Yo Ma, Mendelssohn's Vio- lin Concerto with Isaac Stern, and Berlioz's Les Nuits d'ete and Debussy's La Damoiselle Slue with Frederica von Stade. Leo Panasevich Carolyn and George Rowland chair Alfred Schneider Muriel C. Kasdon and Marjorie C. Paley chair Raymond Sird Ikuko Mizuno Amnon Levy

Second Violins Marylou Speaker Churchill Fahnestock chair Vyacheslav Music Directorship endowed by Uritsky Charlotte and Irving W. Rabb chair John Moors Cabot Ronald Knudsen Edgar and Shirley Grossman chair BOSTON SYMPHONY Joseph McGauley ORCHESTRA Leonard Moss 1991-92 * Harvey Seigel *Jerome Rosen First Violins * Sheila Fiekowsky Malcolm Lowe Ronan Lefkowitz Concertmaster Charles Munch chair tNancy Bracken Tamara Smirnova-Sajfar * Jennie Shames Associate Concertmaster *Aza Raykhtsaum Helen Horner Mclntyre chair ^Lucia Lin Max Hobart *Valeria Vilker Assistant Concertmaster Kuchment Robert L. Beal, and *Bonnie Bewick Enid L. and Bruce A. Beal chair *Tatiana Dimitriades Laura Park *James Cooke Assistant Concertmaster *Si-Jing Huang Edward and Bertha C. Rose chair Bo Youp Hwang Acting Assistant Concertmaster Violas John and Dorothy Wilson chair, Burton Fine fully funded in perpetuity Charles S. Dana chair Fredy Ostrovsky ^Patricia McCarty Forrest Foster Collier chair Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Dorothy Q. and David B. Arnold, Jr., Ronald Wilkison chair, fully funded in perpetuity Lois and Harlan Anderson chair Robert Barnes

* Participating in a system of rotated seating within each string section %On sabbatical leave

10 Joseph Pietropaolo Piccolo Trombones Michael Zaretsky Geralyn Coticone Ronald Barron Marc Jeanneret Evelyn and C. Charles Marran chair J. P. and Mary B. Barger chair, *Mark Ludwig fully funded in perpetuity Oboes Norman Bolter * Rachel Fagerburg Alfred Genovese * Gazouleas Edward Mildred B. Remis chair Bass Trombone *Kazuko Matsusaka Wayne Rapier Douglas Yeo Keisuke Wakao Cellos Tuba Jules Eskin English Horn Chester Schmitz Philip R. Allen chair Laurence Thorstenberg Margaret and William C. Rousseau chair Martha Babcock Beranek chair, Vernon and Marion Alden chair fully funded in perpetuity Sato Knudsen Timpani Esther S. and Joseph M. Shapiro chair Clarinets Everett Firth Joel Moerschel Harold Wright Sylvia Shippen Wells chair Sandra and David Bakalar chair Ann S.M. Banks chair * Robert Ripley Thomas Martin Percussion Richard C. and Ellen E. Paine chair, fully funded in perpetuity Arthur Press Luis Leguia Bass Clarinet Assistant Timpanist Peter Andrew Lurie chair Robert Bradford Newman chair Craig Nordstrom Thomas Gauger Carol Procter Farla and Harvey Chet Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Krentzman chair * Ronald Feldman Frank Epstein William Hudgins Charles and JoAnne Dickinson chair Bassoons *Jerome Patterson Richard Svoboda * Jonathan Miller Edward A. Taft chair Harp *Owen Young Roland Small Ann Hobson Pilot Richard Ranti Willona Henderson Sinclair chair Basses Sarah Schuster Ericsson Edwin Barker Contrabassoon Harold D. Hodgkinson chair Richard Plaster Lawrence Wolfe Helen Rand Thayer chair Maria Nistazos Stata chair, fully funded in perpetuity Joseph Hearne Horns Assistant Leith Family chair Charles Kavalovski Conductors Bela Wurtzler Helen Sagoff Slosberg chair Grant Llewellyn John Salkowski Richard Sebring Robert Spano * Robert Olson Margaret Andersen Congleton chair Daniel Katzen * James Orleans Personnel Managers Elizabeth B. Storer chair Lynn Larsen *Todd Seeber Jay Wadenpfuhl Harry Shapiro *John Stovall Richard Mackey Jonathan Menkis Librarians Flutes Marshall Burlingame Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Leone Buyse Roger Louis Voisin chair Acting Principal Flute Peter Chapman Stage Manager Ford H. Cooper chair Marian Oray Lewis chair Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Thomas Rolfs Alfred Robison

11 *

Without You, This Is The Whole Picture.

This year, there is a $10.4 million difference educational and youth programs, and to attract between what the BSO will earn — and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund — and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. r n Yes, I want to keep great music alive.

I'd like to become a Friend of the BSO for the 1991-92 season. (Friends' benefits

begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

Name Tel.

Address.

City State Zip

Please send your contribution to: Constance B.F. Cooper, Director of Boston Symphony Annual Fund, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. Gf^ *"* ' 5 A portion of your gift may not be tax-deductible. For information call (617) 638-9251. KEEP GREAT MUSIC ALIVE

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12 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 111th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the phi- lanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, and China, and it reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tanglewood is regarded as one of the most important music festivals in the world; it helps to develop the audience of the future through the BSO Youth Concerts and through a variety of outreach programs involving the entire Bos- ton community; and, during the Tanglewood season, it sponsors one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists, the Tanglewood Music Center, which celebrated its fiftieth anniversary in 1990. The orchestra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players — the world's only permanent chamber ensemble made up of a major symphony orchestra's principal players — and the activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October, the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, the orchestra's present home, and one of the world's most highly regarded concert halls, was opened in 1900. Hen- schel was succeeded by a series of German-born and -trained conductors— Wilhelm Gerieke, Arthur Nikisch, Emil Paur, and Max Fiedler — culminating in the appoint- ment of the legendary Karl Muck, who served two tenures as music director, 1906-08

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

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14 .

and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and ful- filling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in 1917, continued with increasing frequency, as did radio broadcasts. In 1918 Henri Rabaud was engaged as conductor; he was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition that would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. Regular radio broadcasts of Boston Symphony Orchestra concerts began during Koussevitzky's years as music director. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center) In 1929 the free Esplanade concerts on the Charles River in Boston were inaugu- rated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky^ s practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center, and under his leadership a full-tuition fel- lowship program was established. Also during these years, in 1964, the Boston Sym- phony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the mid- west. Seiji Ozawa, an artistic director of the Tanglewood Festival since 1970, became the orchestra's thirteenth music director in the fall of 1973, following a year as music adviser. Now in his nineteenth year as music director, Mr. Ozawa has continued to solidify the orchestra's reputation at home and abroad. He has also reaffirmed the orchestra's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anniversary of Tanglewood Music Center, and a recent series of commissions from composers including Henri Dutilleux, Lukas Foss, Alexander Goehr, John Harbison, Hans Werner Henze, and Yehudi Wyner. Under his direction the orchestra has also expanded its recording activities to include releases on the Philips, Telarc, Sony Clas- sical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato labels. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

15 References furnished on request

Armenta Adams David Korevaar American Ballet Theatre Garah Landes Michael Barrett Michael Lankester John Bayless Elyane Laussade Leonard Bernstein Marian McPartland William Bolcom John Nauman Jorge Bolet Seiji Ozawa Boston Pops Orchestra Luciano Pavarotti Boston Symphony Alexander Peskanov Chamber Players Andre Previn Boston Symphony Steve Reich Orchestra Santiago Rodriguez Boston University School George Shearing of Music Bright Sheng Brooklyn Philharmonic Leonard Shure Dave Brubeck Abbey Simon Aaron Copland Stephen Sondheim John Corigliano Herbert Stessin Phyllis Curtin Tanglewood Music Rian di Waal Center Michael Feinstein Nelita True Lukas Foss Craig Urquhart Philip Glass Earl Wild Karl Haas John Williams John F. Kennedy Center Yehudi Wyner for Performing Arts and 200 others HF BALDWIN OF III BOSTON

98 Boylston, Boston, MA 02116, (617) 482-2525

16 -

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Eleventh Season, 1991-92

Thursday, December 12, at 8 Friday, December 13, at 2

SEIJI OZAWA conducting

MOZART Piano Concerto No. 21 in C, K.467

[Allegro] Andante Allegro vivace assai MARIA TIPO

INTERMISSION

STRAUSS An Alpine Symphony, Opus 64

Night — Sunrise — The Ascent — Entry into the Wood— Wandering by the Brook— At the Waterfall — Apparition — On Flowery Meadows — On the Aim — Through Thicket and Undergrowth on the Wrong Path — On the Glacier — Dangerous Moments — On the Summit — Vision — The Fog Rises — The Sun Gradually Becomes Obscured — Elegy— Calm Before the Storm — Thunderstorm, Descent — Sunset — Dying Away of Sound Night

Maria Tipo's appearances this week are made possible in part by the Roberta M. Strang Memorial Fund.

The afternoon concert will end about 3:55 and the evening concert about 9:55.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, New World, Erato, and Hyperion records. Baldwin piano

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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18 Wolfgang Amade Mozart Piano Concerto No. 21 in C, K.467

Johannes Chrysostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgang Amadeo about 1 770 and Wolfgang Amade in 1 777, was born in Salzburg, Austria, on January 27, 1756, and died

in Vienna on December 5, 1791. The score of the C major concerto, K.467, is dated March 9, 1785; Mozart first performed it in Vienna the next day. The first American performance took place on Feb- ruary 16, 1876, at the Music Hall in Boston; William Mason was soloist, with the Theodore Thomas Orchestra. The first Boston Symphony performances took place on January 14 and 15, 1927; Walter Gieseking was soloist, with Alfredo Casella conducting. Since then, the work has been given by Serge Koussevitzky (with soloists Lucille Monaghan, Gieseking, Emma Boynet, and Lukas Foss), Richard Burgin (with Robert Casadesus), Charles Munch (with Casadesus, Foss, and Seymour Lipkin), Erich Leinsdorf (with Christoph Eschenbach), Seiji Ozawa (with James Levine, a tour performance in Chi- cago), Christoph Eschenbach (as conductor-pianist for the BSO's most recent Tangle- wood performance, in July 1980), Simon Rattle (with Emanuel Ax), and Bernard Hai- tink (the most recent subscription performances, with Murray Perahia in April 1989). Christoph von Dohndnyi led a Cleveland Orchestra performance at Tanglewood with pianist Mitsuko Uchida in August 1991. The orchestra includes one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. Maria Tipo performs her own cadenzas at these concerts.

Between February 1784, when he finished the E-flat piano concerto, K.449, and March 1786, when he entered into his thematic catalogue both the A major concerto, K.488, and the C minor concerto, K.491, Mozart wrote eleven concertos for piano and orchestra. During this period, Mozart was living in Vienna; in the early part of 1785 he would achieve the height of his popularity as both pianist and composer, appearing regularly at the homes of the nobility and in public, and supporting himself also with a regular succession of students. On March 3, 1784, he wrote to his father Leopold that he had participated in twenty-two concerts in the space of thirty-eight days ("I don't think that in this way I can possibly get out of practice," he observed). The following fall he played ten concerts during an eleven-day period.

On March 16, 1781, Mozart had come to Vienna fresh from the triumph of Idome- neo, which was commissioned for Munich and premiered there six weeks earlier, on January 29. He had been summoned to Vienna by his employer, the Archbishop Colloredo of Salzburg, on the occasion of the Emperor Joseph II's accession to the throne. The Archbishop's social and financial ill-treatment of Mozart, particularly dis- tasteful so soon after the Munich success, led rather quickly to the composer's deci- sion to resign from the Archbishop's service and to make his own living in Vienna. In July 1782, the premiere at the Burgtheater of Die Entfuhrung aus dem Serail won over Vienna's operagoing public, as would Le nozze di Figaro four years later. Mozart's marriage to Constanze Weber, the sister of his earlier love Aloysia, took

place on August 4, 1782, with only grudging approval from his father, and a concilia- tory visit to Salzburg with Constanze the following summer didn't especially help. But the trip back to Vienna provided the occasion for Mozart to write the Linz Symphony (No. 36) when a concert was arranged there in his honor and he didn't have an appropriate work at hand.

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20 In February 1785 Leopold was visiting with Mozart in Vienna, where he was able to witness firsthand the evidence of his son's success; and it certainly did not hurt to hear Haydn's comment that "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name," this on the occasion of a read-through of several string quartets newly completed by Mozart and dedicated to the older composer. Only weeks later, Mozart completed the C major piano concerto, K.467: it is dated March 9, 1785, and Mozart performed it the next day at the Burgtheater.

The C major concerto could not have provided greater contrast to the one that pre- ceded it, the sombre D minor concerto, K.466, dated February 10, and Mozart's first in the minor mode. K.467 is brightly colored, filled with festive, trumpet-and-drums panoply. Mozart did not write any symphonies between the Linz of 1783 and the Prague (No. 38) of December 1786, concentrating instead on the piano concerto, which showed him to full advantage as both composer and performer. Indeed, the contrast of moods and colors evident in the successive D minor and C major concertos is enough to support Alfred Einstein's assertion that the concertos of this period are "symphonic in the highest sense, and Mozart did not need to turn to the field of pure symphony again until that of the concerto was closed to him."

Mozart did not assign a tempo marking to the opening movement of this concerto; the "Allegro maestoso" printed in most editions is an editorial contrivance that actually works against the character of the opening march rhythm, which wants a brisk tempo. As in so many of his piano concertos, the orchestral exposition is noteworthy for the perfect sense of balance with which Mozart treats the various components of the orchestra, particularly the interplay of strings and winds. At the same time, it is in the way he introduces the soloist that he manages one of his most alluring touches (and this is where an audience hearing the piece for the first time would have expected a particularly inventive gambit). Here, the orchestra comes to a full stop, and unexpected thoughts from the solo oboe, bassoon, and then flute usher in the soloist who, after sharing the main theme with the orchestra, manages throughout the movement to lead the music in frequent and unanticipated new directions, some surprisingly melancholy, others bitingly and chromatically colored.

The F major Andante — popularized in the mid-1960s in the film Elvira Madigan — is one of Mozart's great achievements in melody. The aura of relaxation derives partly from its being set in the subdominant of the home key, which imparts a softer, warmer feel to the music than the dominant, G major, would have afforded; partly from the magic Mozart works with the orchestral accompaniment, with its muted strings, pizzicato bass line, and continuous cushion of triplets; and partly from the form, a sort of free variation scheme in which the orchestra introduces the theme and the pianist, once having initiated the second statement, is the ever-present singer. But it is the melody itself, with its consistently touching turns of phrase, that most directly and hypnotically draws us into the music.

The last movement is one of Mozart's typically extroverted rondo-finales. This one is marked "Allegro vivace assai" — a "very lively Allegro" — and has something of the carnival about it as it mixes wit, lyricism, and touches of pathos, all — again — in perfect balance. — Marc Mandel

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22 Richard Strauss An Alpine Symphony, Opus 64

Richard Georg Strauss was born in Munich on June 11, 1864, and died in Garmisch-Parienkirchen,

Bavaria, on September 8, 1949. The composer's ear- liest sketches for An Alpine Symphony (Eine Alpen- sinfonie) date from 1911. He began the orchestra-

tion on November 1, 1914, and completed the score

on February 8, 1915, himself leading the first performance with the orchestra of the Dresden Hofkapelle on October 28, 1915, at the Philhar- monic in Berlin. The score is dedicated to Count Nicolaus Seebach, director of the Royal Opera in Dresden. The first performance of An Alpine Sym- phony in the United States was given by the Phila- delphia Orchestra under Leopold Stokowski on April 28, 1916; by the end of that year it had also been played by the New York Philharmonic, the Chicago Symphony, and the Minnea- polis Symphony. Serge Koussevitzky gave the first Boston Symphony performances on December 18 and 19, 1925, with repetitions the first week of January 1926 both in Bos- ton and New York. Koussevitzky programmed the work again in March 1930, since which time the Boston Symphony has played it on just two occasions: Andre Previn's subscription performances in October/November 1982, and Edo de Waart's Tanglewood performance in July 1987. The score of An Alpine Symphony calls for two flutes, two piccolos (doubling third and fourth flute), two oboes, English horn (doubling third oboe), and heckelphone (bass oboe at these performances), E-flat clarinet, two clarinets in B, one in C, and bass clarinet in B, three bassoons and contrabassoon (doubling fourth bassoon), four horns, four tenor tubas (doubling fifth through eighth horns), four trumpets, four trombones, two bass tubas, two harps ("doubled if possible"), organ, wind machine, thunder machine, glockenspiel, cymbals, bass drum, side drum, triangle, cow-

bells, tam-tam (three players), celesta, timpani (two players), and strings. Strauss asks for at least twelve first and sixteen second violins, twelve violas, ten cellos, and eight double basses. Also required, offstage, are twelve horns, two trumpets, and two trombones which, "if necessary, " may be taken from the main orchestra. Strauss asks that the flute, oboe, E-flat clarinet, and C clarinet parts be doubled from rehearsal number 94 (just before "The Fog Rises") to the end of the score. He also recommends use of "Samuel's Aerophon" to assist the wind players with their long sustained notes.* The organist at these performances is James David Christie.

Upon his return to Boston in September 1911 from summering in Europe, where he had spent time visiting with Richard Strauss at the composer's home in Garmisch, Boston Symphony music director Max Fiedler told an interviewer:

I only wish that I were going to be able to perform this winter the new symphony on which Strauss is at work. Unfortunately there is no possible chance of

it. The work will be one of large dimensions, in two movements. The first is

sketched in pencil and not yet scored, while the second is still in the mind of the

^Writing for the Boston Symphony program in 1925, Philip Hale noted that "the aerophor [sic], or Tonbinde Appar[a]t, an invention of one Samuels, a court musician of Schwerin, is a sort of pump, a bellows worked by the foot of the player, and connected with the wind instrument by a length of rubber tube, so that the sound of a tone can be protracted." Norman Del Mar, in his biography of Strauss, writes that "this alas long-extinct device seems to have supplied oxygen to the distressed player by means of a foot-pump with a tube stretching up to the mouth."

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MUSICAL INSTRUMENT ACQUISITION FUND composer and there is no possibility of its being finished in the next six or eight months. Besides working on this, Strauss is writing a motet for 20 voices, he is composing stage music for one of Reinhardt's stage plays and is at work on a one-act opera. He has played for me so far as he could the first movement of his symphony and I have heard enough of it to make me anxious for the day when I will see it on the rack before me in an orchestra rehearsal. He will probably call it the "Alps Symphony." In the first movement he goes up a lofty peak and comes down again. He passes Alpine farms and pastures, huntsmen, peasants singing in the fields and finally he reaches the lofty snow-capped peak.

Then, like the true Strauss that he is, he uses the same music to descend with but with everything diminished to make the descent faster than the ascent. Alto-

gether I think it is going to be a most notable work.

Strauss was at this time concerned with the curious hybrid project that would couple a staging of Moliere's he Bourgeois gentilhomme with his own one-act opera Adriadne auf Naxos to a text by Hugo von Hofmannsthal, and which would have its none too successful premiere on October 25, 1912, at Max Reinhardt's Kleines Deutsches Theater in Berlin — only the first stage in a rather long and complicated history of composition and performance.* It was at Reinhardt's theater that Oscar Wilde's Salome and, shortly after, the stage version of Hofmannsthal's Elektra had been produced; both, of course, provided the source material for Strauss's operas.

*The motet to which Fiedler refers is likely the Deutsche Motette, Opus 62, for sixteen-part unac- companied double chorus plus four solo voices, to a text by Friedrich Ruckert and completed in 1913.

Hugo von Hofmannsthal and Richard Strauss

25 Week 9 Also by this time, the first performance of Der Rosenkavalier, again to a libretto by Hofmannsthal, on January 26, 1911, at the Court Opera in Dresden had won the heart of the public, and the second great phase of Strauss's composing career— as a composer for the operatic stage— was well established. Behind him was the series of tone poems with which he had secured his reputation as the leading German composer— Macbeth (1886; revised 1890 and 1891), Don Juan (1889), Death and Transfiguration (1889), Till EulenspiegeVs Merry Pranks (1895), Thus Spake Zara- thustra (1896), Don Quixote (1897), Ein Heldenleben (1898), and, adding insult to injury, as far as his critics were concerned, after the effrontery of portraying himself

as Heldenleben 's composer-hero, the Symphonia domestica (1903), in which the resources of Strauss's huge orchestra were employed to depict a typical day in the life of the composer's family.

It would be another dozen years before the last of Strauss's tone poems appeared: An Alpine Symphony would ultimately be composed while Strauss was awaiting from Hofmannsthal material for what after Ariadne would be their next major undertaking— Die Frau ohne Schatten — although the germ for his final large-scale symphonic work can be traced to a much earlier time, specifically to a boyhood

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CARLETON WILLARD VILLAGE Owned and operated by Carleton-Willard Homes, Inc., a not-for-profit corporation. 100 Old Billerica Road, Bedford, MA 01730 (617) 275-8700 mountain-climbing expedition during which his group lost the way heading up and was drenched in a storm coming down. In 1900, following the completion of Heldenleben, Strauss wrote his parents that he had an idea for a symphonic poem "which would begin with a sunrise in Switzerland." But only after he had used the royalties from Salome to build his villa at Garmisch with its spectacular Alpine views in 1908, and where he and his wife Pauline* lived for the rest of their lives, did he finally begin sketching the work. On May 15, 1911, he wrote to Hofmannsthal from Garmisch, inquiring how Frau was doing, wondering what was happening with the Moliere, and complaining that, while waiting, he was in the meantime "torturing [himself] with a symphony— a job that, when all's said and done, amuses me even less than chasing cockroaches." The other project with which Strauss was likewise busying himself as a stopgap was the ballet Josephslegende, to a scenario by Hofmannsthal, on which he worked from 1912 to 1914, and which was given its premiere at the Paris Opera by Diaghilev's Russian Ballet on May 14, 1914 (one year after Diaghilev's troupe had danced the first performance of Stravinsky's Le Sacre du printemps).

Strauss completed the score of his Alpine Symphony on February 8, 1915, dedicat- ing it "in profound gratitude" to Count Nicolaus Seebach, director of the Royal Opera in Dresden, where had been given the premieres of his second opera, Feuersnot (1901), then Salome (1905), Elektra (1909), and Der Rosenkavalier; the first performance was given by the Dresden Hofkapelle, but in Berlin, where Strauss was conductor of the Berlin Opera from 1898 to 1908, and where he also conducted concerts with the Berlin Tonkunstler Orchestra and the Berlin Philharmonic (it should be

* Strauss fell in love with soprano Pauline de Ahna during his summer holiday in 1887. She sang Isolde when Strauss conducted Tristan with the opera company at Weimar in January 1892, and she sang the heroine of his first opera, Guntram, at its first performance under his baton and also in Weimar, in May 1894. They married on September 10 that year; the four songs of Opus 27 (Morgen, Cdcilie, Ruhe, meine Seele, and Heimliche Aufforderung) were his gift to her. Pauline plays an important part in both Ein Heldenleben and the Symphonia domestica. Im Abendrot, the last of Strauss's posthumously published Four Last Songs, is a reflection upon their life together. She died in May 1950, less than a year after her husband.

"."-' : " -."'. ; Strauss's villa at Garmisch

27 Week 9 remembered that, like Mahler, Strauss was regarded equally as both composer and conductor). Among the guests invited to the final rehearsal were Humperdinck, Schnabel, Dohnanyi, Lhevinne, Lilli Lehmann, and Max Fiedler — no longer music director of the Boston Symphony Orchestra — and it was during rehearsals for the Alpine Symphony that the composer commented that he had at last learned how to orchestrate(I).

The premiere went largely unnoticed, but with World War I then in its second year, there were larger issues on people's minds. Strauss was not dissatisfied; on November 10, 1915, he wrote to Hofmannsthal of his plans to visit Vienna with Pauline the fol-

lowing month, adding that "You must hear my Alpine Symphony on December 5: it is really good!" And years later, when he was invited to London for a festival of his music in October 1947, he wrote that, of all his orchestral works, he would most have preferred to conduct the Alpine Symphony, though in the event — owing to difficulties with the size of the orchestra — he settled for the Symphonia domestica.

General opinion has for a long time held that An Alpine Symphony represents, with respect to the quality of the tone poems, an even greater decline in Strauss's creative powers than the Symphonia domestica before it, just as Ein Heldenleben had already suggested to certain minds something of a falling off before that. This notion, coupled with the requirement of a gargantuan orchestra, has resulted in its being only rarely performed. * But An Alpine Symphony brings to a close the entire series of purely orchestral pieces begun even earlier than Macbeth with the travelogue-in-music, Aus Italien, of 1886 — thus ending with a return to the same sort of geographical nature- painting he had attempted some thirty years earlier; and it benefits from and is a measure of Strauss's experience with the large-scale operatic orchestras of Salome, Elektra, and Der Rosenkavalier, while serving at the same time as rather grand prepa- ration for Die Frau ohne Schatten. It is a spectacular piece of musical pictorialism with numerous clearly and aptly characterized themes and ideas from a composer for whom producing this kind of music was virtually second nature. t And it has an added spiritual dimension, which the composer himself recognized: the death of his friend and contemporary Gustav Mahler (whose music Strauss championed, and in whose music nature-painting plays an extremely significant role) on May 18, 1911, affected Strauss very deeply, and in his notebook Strauss wrote that his Alpine Symphony represented "the ritual of purification through one's own strength, emancipation through work, and the adoration of eternal, glorious nature." Following the specific and extremely subjective pictorialism of the Alpine Symphony's mountain-climbing course from sunrise to sunset, the final two sections of the piece — "Ausklang" (not readily translatable; "the dying away of sound" gives some idea) and the return of "Night" — suggest that the composer has stepped back, is viewing the mountain, and nature, from outside himself, as it were, from some spiritual distance or remove, and the music closes with an aura of spiritual acceptance and then, finally, awe-inspired objectivity.

But to begin at the beginning — Strauss's Alpine Symphony is in a single large movement some fifty minutes in length and divided by headings in the score into twenty-two sections. The first two of these set the scene for the Alpine climbing expedition depicted in the course of the work; the summit of the mountain is reached mid-

*Del Mar suggests that Strauss's instrumentation reflects the composer's taking for granted the resources of the Wagnerian opera orchestra, citing the twelve offstage horns of Tristan and Tannhduser, as well as the twelve offstage trumpets and various wind and percussion ensembles of Lohengrin. tStrauss remarked that he went about composing the Alpine Symphony "just as a cow gives milk." According to Del Mar, the composer also "made the extravagant claim in conversation at about this time that he could, if necessary, describe a knife and fork in music."

28 way through the journey, and, following the descent through a drenching downpour, the final sections serve as a coda to the whole. Here is a sort of "trail guide":

Strauss begins by depicting deep, mysterious Nacht ("Night") with a dark, descending B-flat minor scale through which each added note is sustained so that all sound simultaneously. Trombones and bass tuba solemnly declaim the theme of the mountain, noble, imposing, majestic:

4 Po».,Tuba i & z:A ^: ^ • #< •• * m ^ S: -xs. m. ^ s TJ" ' +- TT TT fa w morula pp dim. pp

A softly undulating figure in low strings and bassoons leads to a tremendous buildup through the full orchestra (the opening of Wagner's Rheingold cannot have been far from the composer's mind) and night gives way to Sonnenaufgang ("Sunrise"). The theme of the sun, as heard here, is a glorious melodic outburst built, like the earlier depiction of night, on a descending scale, but now in the major mode, for full orchestra, and punctuated by cymbal crashes:

Str., w.w. &Tr. Stew'^T~~^\

The texture is enriched by a broad countertheme energized by motion in triplets and taken up by each section of the orchestra. Another buildup, an accelerando, and a brief, dramatic pause now set us on our actual journey up the mountain with a quick marching theme (marked "very lively and energetic"):

Sehr lebhaft nnd energuch VcCb.

col W.W. ju nj niJn m- m r ^

This begins the section of the score headed Der Anstieg ("The Ascent") and serves as a sort of "main theme" for the symphonic movement to follow. This theme is developed, leading to a full E-flat major cadence and the entry of another important idea, a pointed fanfare-like motive which Strauss will use to characterize other aspects of the ascent to the peak, particularly during the more rugged moments of the climb:

Hnu. Pos. > •> Tr. r

' JJ marcatissimo '

Now, however, it serves to introduce the sound of a distant hunting party: twelve horns, two trumpets, and two trombones are heard from afar.

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30 A sudden change of texture and mood brings our Eintritt in den Wald ("Entry into the Wood"), in winch this broad additional theme for the brass:

(Sehr getragen)

and then a more relaxed version of the marching theme are heard against a background of string arpeggios. The music here is broad and expansive, serving as a sort of relaxed second-theme unit in contrast to the faster, march-like theme introduced earlier. Birdcalls are heard, the leisurely pace continues, the marching theme is given a soft, gentle rendering by the strings, and solo string quartet initiates the passage that will lead us to the next section of the score.

Now we have a large development-like section which encompasses several phases of the climb: Wandernng neben dem Bache ("Wandering by the Brook") is marked by an increase in fluid passagework. The energy level increases still further, and cascading figures in the winds and strings tell us that we are Am Wasserfall ("At the Waterfall"), one of the most vividly specific moments of Strauss's nature-painting in this score. A segment marked Erscheinung ("Apparition") — depicting, according to Del Mar, "the Fairy of the Alps appearing beneath the rainbow formed by the spray of the cascading water" — brings yet another broad theme, richly romantic, destined for a later important reappearance, and here given to horns and violas:

Hm.inF(&Vlaj.) molto espr.wm

This brings us to the next section, Auf blumige Wiesen ("On Flowery Meadows"): the march theme is heard softly in the cellos, the higher strings provide a soft back- drop, and isolated points of color (winds, harps, and pizzicato violas) dot the landscape. The pace quickens, and we have reached the expansive landscape Auf der Aim ("On the Aim"), the Alpine pastureland, where cowbells, bird song, sheep, and shep- herds piping distract us from the climb that still remains, lulling us to relaxation.

A shrill cry from the woodwinds and yet another broad, airy theme begun by the horns Hm. in Eb mM f propel us on our way. But now the going gets rough, and the shifting character of the music brings us Durch Dickicht und Gestrupp auf Irrwegen ("Through Thicket and Undergrowth on the Wrong Path"). A sudden sounding of the mountain theme on trumpets and trombones, and the climbers are Auf dem Gletscher ("On the Glacier"), where the course of their progress through the Gefahrvolle Augenblicke ("Danger- ous Moments") that follow is charted by appearances of the original marching theme and pointed fanfare-like climbing theme introduced at the outset of the ascent.

Suddenly we are Auf dem Gipfel ("On the Summit"), the centerpiece of the score: the atmosphere is one of wonder and tense anticipation, as trombones proclaim the Zarathustra-\ike peak motive and then the solo oboe stammers a hesitant tune. There is a large buildup based on a succession of themes — the peak motif just introduced, the theme of the mountain from the beginning, and the broad horn tune from the

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32 "Apparition" section of the score — and a great climax for full orchestra, punctuated by the fanfare-like climbing theme, brings the recapitulation of the sun theme, glori- ously proclaimed in C major. This initiates another development-like section labelled Vision, based largely on the peak theme and the "Apparition" theme and characterized by shifting tonalities, with appearances of the sun theme and mountain theme preparing the way for the next, transitional part of the score.

There is a misty thinning of the orchestral texture as "The Fog Rises" (Nebel steigen auf), and we hear soft fragments of the sun theme as "The Sun Gradually Becomes Obscured" (Die Sonne verdiistert sich allmahlich). This atmosphere of mounting tension continues through a brief section marked Elegie ("Elegy"), and suddenly the "Calm Before the Storm" (Stille vor dem Sturm) sets in: a rumble of timpani and bass drum, and the stammered woodwind tune heard earlier, perfectly capture the rarified pre-storm atmosphere. There are isolated raindrops, ever- increasing gusts of wind, flashes of lightning, thunder, and suggestions of darkness (by allusion to the night theme). Then the full fury of the storm is unleashed.

This part of the score, Gewitter und Sturm, Abstieg ("Thunderstorm, Descent"),

marks the last phase of the mountain-climbing expedition, and in it Strauss couples the climbers' descent through the tempest with the recurrence of many of the ideas heard earlier — in reverse order, and at a very quick pace, as the mountaineers hur- riedly retrace their steps. Easily recognizable are reappearances of the marching theme (now heard, appropriately enough for the descent, with its contours inverted), the pointed fanfare-like motif, the waterfall music, the "Apparition" theme, and the woodland theme. The storm subsides — there is a final gust of wind followed by some isolated raindrops — the noble theme of the mountain is proclaimed once more by the brass, and the organ, which has been assuming increasing prominence, enters to intro-

duce a ceremonial phrase proclaimed by brass and harps. It is "Sunset" (Sonnenunter- gang), and spacious treatment is given to developments of the sun theme, heard in strings and winds in long-held note values with soaring embellishments in the violins.

Chorale-like phrases on solo organ, again taking the sun theme as point of depar- ture, usher in the next-to-last section of the score, labeled Ausklang ("Dying Away of Sound"). In a passage parallel to the earlier "Vision" section, but in tones much softer and more relaxed, and marked to be played "in gentle ecstasy," winds and brass develop the yearning "Apparition" theme. The strings return to bring yet another development of the marching theme, heard both in its original form and in inversion. The final pages of this section are marked by a sudden reappearance of the shrill woodwind theme and further soft appearances of the marching theme, the violins rising higher and higher until the E-flat tonality of this section suddenly gives way to B-flat minor and the return of Nacht ("Night"). The descending scale that opened the symphony is heard once more, the brass proclaim the mountain theme one last time, and a haunting, very slow variant of the marching theme is given out by the violins, ending with a final, dying glissando to the last note. We leave the mountain as we encountered it, shrouded in mystery and darkness. — Marc Mandel

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The "classic" literature on Mozart includes Alfred Einstein's Mozart: The Man, the Music (Oxford paperback) and, of particular relevance to this week's program, Cuth- bert Girdlestone's Mozart and his Piano Concertos (also Oxford paperback). Valuable books of more recent vintage include The Mozart Companion, edited by H.C. Robbins Landon and Donald Mitchell (Norton paperback, including contributions by Friedrich Blume and Robbins Landon on the concertos), Philip Radcliffe's Mozart Piano Concer- tos in the BBC Music Guide Series (University of Washington paperback), Wolfgang Hildesheimer's stimulating Mozart (Farrar Straus Giroux, or Vintage paperback), and Stanley Sadie's Mozart (Grossman, also paperback), a convenient life-and-works survey. Nor should Charles Rosen's The Classical Style be overlooked (Viking, or Norton paperback). Stanley Sadie's Mozart article in The New Grove Dictionary of Music and Musicians has been published in book form (Norton paperback). An informative biography taking the last decade of the composer's life as its reference point is Volkmar Braunbehrens' Mozart in Vienna, 1781-1791 (Harper Perennial paperback). Stanford University Press has just issued The Mozart Myths: A Critical Reassessment, by William Stafford. The bicentenary celebration of the composer's death in December 1791 has added a number of important books to the Mozart bibliography. Among the most significant is The Mozart Compendium: A Guide to Mozart's Life and Music, an extraordinary compilation edited by H.C. Robbins Landon, and which includes detailed information on just about every aspect of Mozart's life, attitudes, music, milieu, and reputation (Schirmer Books). The C major concerto, K.467, is particularly well represented on compact disc. Noteworthy accounts — listed alphabetically by soloist — include those of Geza Anda with the Salzburg Mozarteum (DG; this was the version used for the soundtrack of Elvira Madigan), Malcolm Bilson (on fortepiano) with John Eliot Gardiner and the English Baroque Soloists (DG Archiv), Alfred Brendel with Neville Marriner and the Academy of St. Martin-in-the-Fields (Philips), Annie Fischer with Wolfgang Sawallisch and the Philharmonia (Angel), Murray Pera- hia with the English Chamber Orchestra (Sony Classical), Artur Schnabel with Sir Malcolm Sargent and the London Symphony (Arabesque), Rudolf Serkin with either Alexander Schneider and the Columbia Symphony (Sony Classical) or Claudio Abbado and the London Symphony (DG), and Mitsuko Uchida with Jeffrey Tate and the English Chamber Orchestra (Philips).

The big biography of Richard Strauss is Norman Del Mar's three-volume Richard Strauss, which gives equal space to the composer's life and music (Cornell University paperback); An Alpine Symphony receives detailed consideration in volume II. Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback). Kennedy's Strauss article in The New Grove is available in The New Grove Turn-of-the-Century Masters, which also includes the Grove entries on Janacek, Mahler, and Sibelius (Norton). The symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth a look (Barnes and Noble). Despite its infrequent performances, An Alpine Symphony is reasonably well represented on CD. I'd be inclined to investigate the recordings by Herbert Blomstedt with the San Francisco Symphony (London), Karl Bohm with the Dresden State Orchestra (DG Dokumente), Edo de Waart with the Minnesota Orchestra (Virgin Classics), Bernard Haitink with the Royal Concertgebouw (Philips), Zubin Mehta with the Los Angeles Philharmonic (London), or Andre Previn with the Vienna Philharmonic (Telarc). -M.M.

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Joyce M. Serwitz Boston Symphony Orchestra Boston, Massachusetts 02115 Telephone (617) 638-9273 Maria Tipo Italian pianist Maria Tipo has returned to North America this season for her first concert tour in more than thirty years, including a solo recital at the Metropolitan Museum of Art in New York in November, a Carnegie Hall appearance also in November as soloist in Mozart's E-flat piano concerto, K.271, with the Orpheus Cham- ber Orchestra, and her debut appearances with the Boston Sym- phony Orchestra this week. Born in Naples, Maria Tipo gave her first public performance when she was four. Her teacher was her mother, Ersilia Cavallo, herself a pupil of Busoni, and she later studied with Casella and Agosti. At seventeen she won first prize in the Concours International of Geneva and was immediately invited to appear as soloist with the great orchestras of the world. She has appeared with the Berlin Philharmonic, the Vienna Philharmonic, the Orchestre de Paris, the Chicago Symphony, the Los Angeles Philharmonic, the London Symphony, the Concertgebouw of Amsterdam, the Florence May Festival, the La Scala Orchestra, the Czech Philharmonic, and the Santa Cecilia Orchestra of Rome. She has performed with a number of great conductors, including Ansermet, Bar- birolli, Scherchen, Bohm, Reiner, Van Beinum, Giulini, Abbado, Muti, and Sawallisch, among others. As a chamber musician, she has collaborated with violinists Salvatore Accardo and Uto Ughi and the Amadeus String Quartet. Ms. Tipo now records for EMI/ Angel; her discography for that company includes works of Schumann, Beethoven, and Bach-Busoni, as well as her prizewinning performance of Bach's Goldberg Variations. Her first recording, a prizewinning album for Ricordi of twelve Scarlatti sonatas, won consider- able acclaim; her recording for Italy's Fonit-Cetra label of piano sonatas by Muzio Clem- enti is now a collector's item. In the late 1950s Ms. Tipo appeared in North America for four consecutive seasons under the auspices of impresario Sol Hurok, giving more than 300 concerts. She now plays between fifty and sixty concerts each year in Europe and is also a dedicated teacher. She was a professor at the conservatories of Bolzano and Florence for twenty years and has taught students from all over the world. Ms. Tipo is frequently invited to judge major international competitions and for the past ten years has held a chair at the Geneva Conservatory. She also teaches at the music school of Fiesole, near Florence.

A Special Offer The Boston Symphony Orchestra is pleased to announce a special promotion with Rizzoli Bookstore located in Copley Place, Boston. Upon presentation of your BSO ticket stub receive a 10% discount on any purchase. This offer is valid through May 3, 1992.

37 BSO Corporate Sponsorships $25,000 and above

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39 1991-92 Business Honor Roll (continued)

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40 BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION

The Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their generous and valuable support of $1,500 or more during the past fiscal year. Names which are capitalized denote Business Honor Roll leadership support of $10,000 or more. A treble

clef ($) denotes support of $5,000-$9,999. An eighth-note symbol (}) indicates support of $2,500-$4,999.

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43 We salute the Boston Symphony Orchestra on their 111th season

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Peter Sarmanian «P (fCaddell & Byers Lynch, Brewer, Hoffman & Sands RAYTHEON COMPANY Paul D. Bertrand Owen B. Lynch Dennis Picard ^Cameron & Colby Co., Inc. <|Mintz, Levin, Cohn, Ferris, Glovsky & Popeo, P.C. > Signal Technology Corporation Lawrence S. Doyle Kenneth J. Novack Dale J. Peterson 1 J Chubb Group of Insurance Cos. SofTech, Inc. John Gillespie Nissenbaum Law Offices Justus Lowe, Jr. Gerald L. Nissenbaum |Frank B. Hall & Co. .Stratus Computer of Massachusetts, Inc. •^Nutter, McClennen & Fish William E. Foster William F. Newell Michael J. Bohnen

'TASC JOHN HANCOCK MUTUAL | Palmer & Dodge Arthur Gelb LIFE INSURANCE COMPANY Robert E. Sullivan TDK ELECTRONICS E. James Morton Rackemann, Sawyer & Brewster CORPORATION •^Johnson & Higgins of Stephen Carr Anderson Takashi Tsujii Massachusetts, Inc. Sarrouf, Tarricone & Flemming Termiflex Corporation Robert A. Cameron Camille F. Sarrouf

1 William E. Fletcher •f Keystone Provident Life Sherburne, Powers & Needham Thermo Electron Corporation Insurance Company Daniel Needham Robert G. Sharp George N. Hatsopoulos Wood, Clarkin & Sawyer Whistler Corp. Lexington Insurance Company William C. Sawyer Charles A. Stott Kevin H. Kelley Hotels/Restaurants LIBERTY MUTUAL Manufacturer's Representatives TXTdTTT"*INSURANCEA XT/^ITTI GROUP/~~i T~» ATTT» Back Bay Hilton Gary L. Countryman •^Ben Mac Enterprises Thomas McAuliffe James A. Daley THE NEW ENGLAND Boston Harbor Hotel Edward E. Phillips Kitchen & Kutchin, Inc. James M. Carmody Melvin Kutchin § Safety Insurance Company Boston Marriott Copley Place Richard B. Simches Jurgen Giesbert Manufac turing § Sedgwick James of New Christo's Restaurant England, Inc. i'Alles Corporation Christopher Tsaganis P. Joseph McCarthy Stephen S. Berman

FOUR SEASONS HOTEL Sullivan Risk Management Group Allwaste Asbestos Abatement, Inc. Robin A. Brown John H. Sullivan Paul M. Verrochi

45 Autoroll Machine Corporation | Reebok International Ltd. •^John M. Corcoran & Company William M. Karlyn Paul Fireman John M. Corcoran

•^Avedis Zildjian Company J*The Rockport Corporation Keller Co., Inc. Armand Zildjian Anthony Tiberii Joseph P. Keller

The Biltrite Corporation | The Stride Rite Corporation •^Meditrust Corporation Stanley J. Bernstein Arnold S. Hiatt Jonathan S. Sherwin

•^Boston Acoustics, Inc. J 1 Superior Brands, Inc. Nordblom Company Frank Reed Richard J. Phelps Roger P. Nordblom

Century Manufacturing Co., Inc. Textron Charitable Trust ^Windsor Building Associates Joseph W. Tiberio B.F. Dolan Mona F. Freedman

|C.R. Bard, Inc. •^The Tonon Group Robert H. McCaffrey Robert Tonon Retail

•^Chelsea Industries, Inc. i'Watts Industries, Inc. |Arley Merchandise Corporation

Ronald G. Casty Timothy P. Home David I. Riemer

CONNELL LIMITED Wire Belt Company of America •^Carillon Importers, Ltd. PARTNERSHIP F. Wade Greer Ernest Capria William P. Connell Printing/Publishing COUNTRY CURTAINS |,Converse, Inc. Jane P. Fitzpatrick Gilbert Ford J'Addison-Wesley Publishing Co., Inc. FILENE'S Warren R. Stone Dean K. Webster Family Joseph M. Melvin Foundation CAHNERS PUBLISHING J. Baker, Inc. Dean K. Webster COMPANY Sherman N. Baker Robert L. Krakoff $FLEXcon Company, Inc. •^Jofran, Inc. Mark R. Ungerer •^Daniels Printing Robert D. Roy Lee S. Daniels Corporation GTE 1 | i Jordan Marsh Company James L. Johnson GRAFACON, INC. Harold S. Frank H. Wayman Rogers, Jr. | GTE Electrical Products Koko Boodakian & Sons, Inc. Dean T. Langford HOUGHTON MIFFLIN COMPANY Harry and Michael Boodakian GENERAL ELECTRIC Nader F. Darehshori •^Lancome Paris PLASTICS Steve Morse Glen H. Hiner Little, Brown & Company William R. Hall §Neiman Marcus General Latex and | William D. Roddy Chemical Corp. Monadnock Paper Mills, Inc. Robert W. MacPherson Bill Steel Prize Possessions Virginia N. Durfee THE GILLETTE COMPANY Real Estate/Development Alfred M. Zeien, Jr. Purity Supreme, Inc. | Boston Capital Partners Frank P. Giacomazzi Harvard Folding Box | Christopher W. Collins Company, Inc. ^Saks Fifth Avenue Herbert F. Collins Melvin A. Ross Alison Strieder Mayher Richard J. DeAgazio ^HMK Enterprises John P. Manning THE STOP AND SHOP Steven Karol FOUNDATION •^The Chiofaro Company Avram Goldberg i 1 Jones & Vining, Inc. Donald Chiofaro Sven A. Vaule, Jr. The Stop and Shop Companies Combined Properties, Inc. Lewis Schaeneman | Leach & Garner Company Stanton L. Black Edwin F Leach II ^Tiffany & Co. Corcoran-Jennison Companies Anthony Ostrom Legget & Piatt, Inc. Joseph E. Corcoran Alexander M. Levine FIRST WINTHROP Science/Medical $New England Business CORPORATION Service, Inc. Arthur J. Halleran, Jr. Baldpate Hospital Richard H. Rhoads Lucille M. Batal •^The Flatley Company New England Insulation Thomas J. Flatley Blake & Blake Genealogists Theodore H. Brodie Richard A. Blake, Jr. Heafitz Development Company

J Parks Corporation Lewis Heafitz I Charles River Laboratories, Inc. Lee Davidson Henry L. Foster Horizon Commercial ^Rand-Whitney Corporation Management |Damon Corporation Robert Kraft Joan Eliachar Robert L. Rosen

46 i'HCA Portsmouth Regional Hospital | TAD Technical Services Corporation i'AT&T Network Systems William J. Schuler David J. McGrath, Jr. John F. McKinnon Robert Sanferrare |JA. Webster, Inc. Wild Acre Inns, Inc. Bernard S. Yudowitz John A. Webster ^Cellular One i* Lifeline Charles Hoffman Arthur Phipps Travel/Transportation MCI Services NORTHWEST AIRLINES Jonathan Crane Terry M. Leo Asquith Corporation NEW ENGLAND TELEPHONE Lawrence L. Asquith Patterson, Wylde & Co., Inc. COMPANY Norman Tasgal EASTERN ENTERPRISES Paul C. O'Brien Richard R. Clayton Telecommunications NORTHERN TELECOM, INC. •^Phoenix Technologies Foundation Brian Davis Neil Colvin ^AT&T Shaughnessy & Ahern Co. Donald Bonoff NYNEX CORPORATION John J. Shaughnessy Timothy Murray William C. Ferguson

This Holiday Season Give Your Company A Special Gift That Comes With More Than 100 Intricate Pieces

HUWLH MOSMS

No Assembly Required

"A Company Christmas at Pops" is one the traditional gourmet "Pops" dinner of the highlights of the holiday season and a performance by John Williams and in Boston. In fact, the event is so the Boston Pops Orchestra. popular that more than 100 leading Sponsorship packages are available businesses and their guests return to for $3,500 [16 tickets] and $2,000 [10 participate every year. tickets]. For information, call BSO Beginning at 6:00 p.m. on December Corporate Development at (617) 638- 17th, sponsors and their guests will enjoy 9278. After all, you can't beat a pre- cocktails and hors d'oeuvres, followed by assembled gift for the holidays!

A Company Christmas at Pops To Benefit the Boston Symphony Orchestra

47 NEXT PROGRAM . . .

Thursday, January 2, at 8

Friday, January 3, at 2

Saturday, January 4, at 8

Tuesday, January 7, at 8

OLIVER KNUSSEN conducting

BRITTEN Suite on English Folk Tunes, "A Time There ," Was . . . Opus 90

I. Cakes and Ale II. The Bitter Withy III. Hankin Booby IV. Hunt the Squirrel V. Lord Melbourne

KNUSSEN Symphony No. 2 for soprano and chamber orchestra, Opus 7 (Texts from poems by Georg Trakl and Sylvia Plath)

I. Allegro — Scuro — Spettrale

"Die Ratten": Adagio — II. Scorrevole III. "Edge": Lentissimo A tempo — IV. "An die Schwester": Andante LISA SAFFER

INTERMISSION

BUSONI Berceuse elegiaque (The man's cradle-song by his mother's bier), Opus 42

DEBUSSY La Boite ajoujoux {The Toy-box), ballet for children

Prelude: The Box asleep First Tableau: The Toy Shop Second Tableau: The Battlefield Third Tableau: The Sheep-fold for sale Fourth Tableau: Fortune made Epilogue

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send

payment by check. Please note that there is a $2.00 handling fee for each ticket ordered by phone.

48 COMING CONCERTS . . .

For rates and /BOSTON Thursday 'D'- January 2, 8-10 Friday 'B' — January 3, 2-4 information on I SYMPHONY \ ORCHESTRA Saturday 'B'— January 4, 8-10 advertising in the OZAWA ><> \ SEIJl Tuesday 'B'- January 7, 8-10 Boston Symphony, OLIVER KNUSSEN conducting Boston Pops, LISA SAFFER, soprano and BRITTEN Suite on English Folk Songs, A Time There Was Tanglewood program books KNUSSEN Symphony No. 2, for solo please contact: voice and orchestra BUSONI Berceuse elegiaque STEVE GANAK AD REPS DEBUSSY La Boite a joujoux

(617)-542-6913 Wednesday, January 8 at 7:30 Open Rehearsal Steven Ledbetter will discuss the program at 6:30 in Symphony Hall.

Thursday 'C- January 9, 8-9:45 Friday 'A' -January 10, 2-3:45 Saturday 'A' — January 11, 8-9:45 Tuesday 'C— January 14, 8-9:45 ERICH LEINSDORF conducting

WAGNER Prelude to Tristan und Isolde

DEBUSSY Suite from Pelleas et Melisande DEBUSSY Incidental music for The Martyrdom of St. Sebastian WAGNER "The Burial of Titurel," from Parsifal

Thursday 'B'- January 16, 8-9:45 Friday 'B'- January 17, 2-3:45 Saturday 'B' — January 18, 8-9:45 Tuesday 'B' — January 21, 8-9:45 ERICH LEINSDORF conducting Successful business trips JANOS STARKER, cello are music to my ears. BURTON FINE, viola HINDEMITH Cello Concerto Garber Travel has been orchestrating travel STRAUSS Don Quixote plans for some of the finest companies in New England and we've | ~x Programs and artists subject to change. never missed a beat.

Call me at 734-2100

I know we can work in perfect harmony.

Main Office: 1406 Beacon St., Brookline

49 WiTii i ivhfjaggs gisa

Dinner and symphony. In concert.

Our symphony menu is the perfect prelude to the performance.

The fixed-price, three-course dinners are prepared and served with style.

And accompanied by free parking. So you can enjoy your dinner, then stroll

to symphony with time to spare. For reservations, call 424-7000.

RO&tENADE At The Colonnade Hotel

On Huntington Avenue across from the Prudential Center

. REALTORS

1412 B Beacon Street, Brookline, MA 02146 • (617)738-5700

50 SYMPHONY HALL INFORMATION . . .

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tan- glewood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Function Manager, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting- time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For outside events at Symphony Hall, tickets are available three weeks before the concert. No phone orders will be accepted for these events.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. There is a handling fee of $2.00 for each ticket ordered by phone.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345.

LATECOMERS will be seated by the ushers during the first convenient pause in the program. Those who wish to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION of our patrons and artists, children under four will not be admit- ted to Boston Symphony Orchestra concerts.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for the Friday- afternoon, and Tuesday-, Thursday-, and Saturday-evening Boston Symphony subscription concerts. The low price of these seats is assured through the Morse Rush Seat Fund. The tickets for Rush Seats are sold at $6.00 each, one to a customer, on Fridays as of 9 a.m. and Tuesdays, Thursdays, and Saturdays as of 5 p.m.

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors; it is permitted only in the Hatch Room and in the main lobby on Massachusetts Avenue. Please note that smoking is no longer permitted in the Cabot- Cahners Room.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

WHEELCHAIR ACCESS to Symphony Hall is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are located in the main corridor of the West Entrance, and in the first-balcony passage between Symphony Hall and the Cohen Wing.

51 FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachusetts Avenue entrance.

PARKING: The Prudential Center Garage offers a discount to any BSO patron with a ticket stub for that evening's performance, courtesy of R.M. Bradley & Co., Inc., and The Prudential Property Company, Inc. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guar- anteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts on Tuesday, Thursday, Friday, or Saturday. For more information, call the Sub- scription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachu- setts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall, on both sides of the first balcony, and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator, on the first-balcony level, audience-left, outside the Cabot-Cahners Room near the coatroom, and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. The BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at 12:15, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Sym- phony Orchestra are broadcast live by WGBH-FM (Boston 89.7) and by WAMC-FM (Albany 90.3, serving the Tanglewood area); Saturday-evening concerts are broadcast live by WCRB-FM (Boston 102.5). In addition, concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada, as well as internationally, through the Boston Symphony Transcription Trust.

BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9251. If you are already a Friend and you have changed your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 02115. Including the mailing label will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business & Professional Leadership program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call the BSO Corporate Develop- ment Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Hun- tington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m., Saturday from 12 p.m. until 6 p.m., and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including The Sym- phony Lap Robe, calendars, coffee mugs, posters, and an expanded line of BSO apparel and recordings. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

52 A TRADITION OF FINANCIALCOUNSEL OLDER THAN THE IIS. DOLLAR. State Street has been providing quality financial service since 1792. That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality?

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation,

225 Franklin Street, Boston, MA 02101 . Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. ITALIAN PEELER fOHftTOfc* P ^*i£ VVITH BASIL LEAF "• A